Untitled

Dominion, Volume 19, Issue 196, 15 May 1926, Page 19

A splendid cast lias been assembled in “The Ancient Mariner,” the Fox special attraction, screening at the Queen’s Theatre during this v eek. The role of the mariner himself is taken by Paul Panzer, while the old salt in the modern sequence is played by Nigel de Brullier.

Two new faces will be seen on the screen in “What Fools,Men,” the latest First National production. They are Joyce Compton and Hugh Allan. Their initial work is said to have been so promising that each was signed up immediately for long term contracts by First National Pictures.

The following story was related the other day by Harry Green, the Jewish comedian to appear here shortly in the faycc comedy “Give and Take.” The touring version of his play “Welcome Stranger” was offered to the manager of the principal theatre in a certain English city for a date to come between two other more remote towns. The manager to whom the company waS offered, in a somewhat lengthy and discursive letter, indicated low much he appreciated the show, then added, “I don’t think it would go here at all, as we have only one Jew in the place—and he’s on the free list.”

From the direction of “Stella Dallas” to “Partners Again—with Potash and Perlmutter,” is a long step, but Henry King has taken it. He has started filming the hilarious adventures of the quarrelsome partners, Abe and Mawruss, for the United Artists.

Angela Baddeley, who played Phoebe, of the ringlets, in Barrie’s “Quality Street,’’ now at Melbourne, is seen in an entirely different role—that of Tweeney, the maid, in “The Admirable Crichton.” The contrast between these two characters indicates _ Miss Baddelev’s qualities as a versatile actress. The Cockney accent used by Miss Baddeley in her performance as the slavey was acquired through much careful study of charladies in England.

Although all members of the cast are Americans now, the players in 'His People,” the Universal-Jewel announced for early release, come from a variety of lands—United States, Germany, Austria, Ireland, Poland, England, Italy, Canada, Russia are all represented. The art and temperament of the various countries were skilfully manipulated by Director Edward Slonian into a story of appeal. Rudolph Schildkraut nlavs the leading role

The reason of Miss Dorothy Brunton’s eleventh-hour cancellation of her tiip to London has been arousing much speculation in Sydney and Melbourne. The popular actress was to have sailed recently with Dame Clara Butt and Mr. Kennerley Rumford on the Oronsay. An important announcement by J.' C. Williamson Ltd. now supplies the key to the mystery. Miss Brunton h*B signed a contract to appear in a special production with Mr. Guy Bates jffst la Sydney,.

Mary Astor, who plays one of the leading roles in First National’s “The Scarlet Saint,” which will soon be here, posed for a series of two-reel pictures representing famous paintings, and her success in these led to her subsequent motion picture career.

Loudon’s ultra-fashionables are brought to the screen by Colleen Moore in her latest First National production “We Moderns,” which will be here shortly. The picture is an adaptation from Israel Zangwill’s novel of the same title, which satirises the post-war frivolities of England’s youth. Colleen has the role of a London “modern.

The Fox production, “Siberia,” is due to arrive in New Zealand shortly. This production is one < f the most ambitious on the 1926 schedule. The action of the picture shifts from Petrograd, with its glittering ‘■plcndour, its famous court, its magnificent palaces, to Siberia with its squalor and misery, its terrible prisons and slavery This was Russia in the days of the Czar, and it is this Russia that the story of "Siberia,” deals with Lou Hellegen, Alma Rubens and Edmund Lowe have the leading parts.

“The Storm Breaker,” Universal Jewel production, with House Peters in the chief role, is now being shown at the Artcraft Theatre. It is a story of the clash of a domineering man with the elements of nature and an equally strong-willed woman. All the tragedy, force, cruelty and beauty of the sea are forcefully revealed in “The Storm Breaker.”

Robert G. Vignola, the director ot Metro-Goldwvn’s latest picture, “Yolanda,” at the De Luxe Theatre, is said to have recaptured all the glamour of a departed age of chivalry in this production It is a picture of fifteenth century France in the reign of Louis XI, arid shows those far-off days in a niist of romantic beauty and the colours of war flashing on mail-clad soldiery It tells an appealing and dashing story of Princess Mary of Burgundy, who masquerades as Yolanda, a burgher maid, and of her lover, Prince Maximilian of Styria. The film pulses with life and presents glimpses of ever-changing beauty. These are mingled with wild forest rides, exciting moments of peril, and many scenes of love and comedy. Miss Davies, as Princess Mary, plais her part with exquisite charm. The production was adinted from the novel by Charles Major, who wrote “Dorothy Vernon of Fladdon Hall,” “When Knighthood was Flower.” and other film stories.

Lou Tcllegen, a stage favourite, whose popularity as a screen star is steadily increasing, used to be a protege and leading man of the great Sarah Bernhardt. He plays the role of John Dawson in “Those Who Judge,” a Universal production.

Estelle Taylor is to play Lucretia Bcrgiau in “Don Juan” ’ with John Barrymore for Master pictures. The cast now includes Alary Astor, Willard Louis, and John Roche,

“The Cave Man,” a Master picture, with Marie Prevost, and Matt Moore' in the leading roles, is well under way at Warners.

Warner Brothers have added two gag men to their staff. Scott Darling has been assisting Chick Reisner in the making of the Master picture • Nightie Night, Nurse.” The other is Jack Waggoner, formerly with Harry Langdon, who is assisting Lewis Milestone in the Master picture “The Cave Man.”

“Why Girls Go Back Home” is a picture which has Patsy Ruth Miller in the leading role, and which is nowin production.

Warner Brothers have assembled a good supporting 'cast for Syd. Chaplin in “The Man on the Box,” the Mas. ter picture adaptation of the celebrated Harold McGrath novel-play. Charles (“Chuck”) Reisner, who himself plays a leading role, is directing.

Miss Frances Scully, the Sydney teacher of dancing and singing, will shortly come to New Zealand with the Sunbeam Children of Sydney. Miss Scully conducts a studio wherein she has various juvenile classes and. a total of five hundred children. From tlieir ranks each year come “The Sunbeams” for theatrical appearance. For the last few years they hive appeared each Christmas at the Haymarket Theatre (Sydney) and the Tivoli Theatre (Brisbane), and thus have not up to the present been able to appear in New Zealand. “The Sunbeams” will be presented shortly in association with the First National British super special, “The Only .Way,” with Sir John Martin Harvey in fhe chief role, which is to be screened at the Grand Opera House, Wellington, on June 2.

The name of “Three Bad Men” is already being mentioned as a picture, although the mere skeleton of what the finished product will be is being made. “The Three Bad Men” is a story of the American frontier in the early days, the days of romance, tingling' adventure, danger lurking in every moving bush and behind every rock, of love that is the same the world over, and of tremendous undertakings. George O’Brien and Olive Borden have the leading roles, and J. Farrell MacDonald is one of the “Three Bad Men” round whom the story is woven.

Imagine going into church to wait for your bride, and going off to sleep! Then imagine your surprise, on waking, to find seven thousand prospective brides surrounding you! It all happened when Buster Keaton learned that lie would inherit seven million dollars on the condition that he married before 7 o’clock of the day he became aware of his legacy. His girl refused him so his partner tried to get a bride for him. The result exceeded all expectations. The remainder of the picture deals with his attempts to marry the girl he loves. Ruth Dwyer is leading lady. This farcical picture is “Seven Chances,” which is screening at the King’s Theatre this week.

Fred Thomson’s next Western feature for F. 8.0. will be “Hands Across the Border,” an original story byFrank M. Clifton. “Hands Across the Border” will be the _ second of his Master picture productions, in accordance with his long-term contract with the distributing organisation, bis first having been '‘The Tough Guy,” which has just been completed.

Three new Master picture produc-. tions were started at Warners this week. “Leave it to Me” is William Beaudine’s first since his return to the screen Patsv Ruth Miller, John Patrick, and Montague Love have the

Dainty Elaine Kammerstein is starred in the Master picture, “Drums of Jeopardy/* now screening at the Strand Theatre.

An aeroplane accident in which Doris Kenyon and Vivia Ogden crash to earth in the back yard of the residence of an Italian duke, furnishes one of the exciting thrills in “The Unguarded Hour,” First National’s latest picture, with Milton Sills, which is scheduled for early release throughout New Zealand.

Pola Negri’s latest picture for Paramount, “Flower of the Night,” which will be here shortly, was written for the screen by Willis Godbcck, from an original screen story by, J° st ‘P Hergesheimer, author 'of “Tol able David” and “The Bright Shawl. Ihe story is laid in that most romantic and' thrill-fillyd period—California, at the zenith of the gold rush. Po a Negri portrays the role of the lovely daughter of a Spanish Don.

Constant additions are being made to the Warner Brothers’ sales organisation by Sam E. Morris, general manager of distribution. The latest addition is Clarence Bunn, until recently in charge of First National pictures. For the present he will do special sales promotion work on “The Sea Beast” and “Oh, What a Nurse,” two forthcoming Master pictures.

Work on “The Night Cry,” the new Master picture with Rin-Tin-Tin, the wonder dog, is in full swing.

It was certainly a step in the light direction to place the reins in the hands of Herbert Wilcox when Bntain decided to film “I he Only In fact it was this eminent authority who adapted the play for the screen and so artistically and thoroughly has he completed his task that the spectator who for the time imagines the great Dickens himself has returned to earth to prompt his characters could easily be forgiven for so doing.

“The Grafters” is the title for the production being made from L. A. Lancaster’s novel. The cast includes Dolores Costello and Dot Farley.

Norma Talmadge’s new picture, “Graustark,” will be shown by First National shortly. This is the screen version of George Barr McCutcheon’s story.

Warner Brothers will elevate Dolores Costello to stardom in the near future. Miss Costello appears with John Barrymore in the Master picture “The Sea Beast.”

Ernst Lubitsch has selected Patsy Ruth Miller to play the feminine lead in “Revillon,” his next Master picture production. Monte Blue will have the chief male role.

In “Bluebeard’s Seven Wives” (First National), at the Paramount Theatre this -week, Ben Lvon enacts the principal male role, supported by Lois Wilson and Blanche Sweet.

Harry Green, the Jewish comedian in “Give and Take,” has often been asjied how he managed to strike his particular line of comedy. ’ “I didn’t strike it at all,” he said. ,“It’s an affliction by birth. Comedy can depend on so manv things. It may be. contained in the 'lines or situations of a play. It may be due to facial expression or gesture, or to the manner in which the lines are spoken. In mv case it is the voice. Somehow or other I possess a comedy voice. I have noticed in everyday conversation how a perfectly serious phrase or statement will sometimes evoke peals of laughter. So the role of comedian has been almost forced upon me by nature. I might have burned with ambition to play Hamlet or Romeo, but imagine what sort of impression my voice would produce in one of those parts.”

The harvesting of the huge wheat fields of Oregon provides unusual scenes in “Under Western Skies,” . a Universal-Jewel production. The picture actually was .made in Oregon during the harvest time. Norman Kerry plays the chief role in the pictuie.

One of the season’s most important attractions from Paramount is “'I he American Venus,” a comedy romance built around the quest of a group of artists who seek the American piototype of the classic Venus de Milo. The ■picture contains comedy, romance, melodrama, spectacle extravaganza, an elaborate fashion show and scenes in Technicolour. 'the bathing beauty scenes were actually filmed in Atlantic City during the animal pageant held in 1925. The contest brought the title of “Miss American” to Fay Lanphier, a Californian girl who has been given the role of Miss Alabama in the picture. Twelve lovelv models were used in the fashion show, for. which elaborate costumes were specially designed. Besides the ether plavers there are seven of the leading contestants m the 1925 Atlantic City beauty pageant taking part.

Zane Grev’s story, “The Vanishing American,”'now in the New Zealand bookshops, will be released shortly in New Zealand under the title of “The Vanishing Race.” This story was written by Zane Grey after ten years of search for material in the wilds and among the American Indians. Grey felt in his heart the tragedy of a great race when he wrote this story, and the book as well as the picture has been constructed along lines that cannot but evoke the sympathy of mankind for the vanishing of the abonpines of manv countries in the face of the advent'of the white man. The cast of this picture was personally selected bv Mr. Grev, and he choose Richard Dix for the character of Nopharie. Lois Wilson and Noah Beery are also in the cast.

Svdnev Granville, now with the J. C. 'Williamson Gilbert and Sullivan Opera Company at His Majesty’s Theatre, Melbourne, was associated for over 18 vears with the D’Oyly Carte Company, with which he has played every part it was possible for him to take. Mr. Granville received his first training with the Moody-Manners Opera Company, with which he appeared for three years.

Fred Thomson will again be directed by Dave Kirkland when he starts making “The Tough Guy” for Sl,aster Pictures, a picture based on the story bv Frank M. Clifton.

“Bulldog Drummond” is to be shown at the Artcraft Theatre on Tuesday next, for three nights only. Captain Drummond (“Bulldog” Drummond) , played by Carlyle Blackwell, makes a fascinating hero—a big, brisk, gay-hearted young captain, he shows himself an actor of ability. His teeth once clenched, he refuses to let go till he defeats the crooks and takes the heroine to his heart.

A headlong dash up the aisle of the church on horseback to stop a wedding is one of the exciting moments in ’“Two-fisted Jones,” the Universal attraction, with Jack Hoxie in the leading role.

Pete Morrison has the chief part in "Triple Action,” a Universal Western production. Morrison began l ife as a cowboy, graduated into Wild Wesc shows, and from that passed on into the movies.

“Rin-Tin-Tin” accidentally knocked his master, Lieut. Lee Duncan, over a cliff on location. Duncan received a broken leg and other injuries. Rinty’s next Master Picture is “Below the Line.”

The effects at the disposal of the modern stage director are almost unlimited, and this is demonstrated in the second act of “The Admirable Crichton” at the King’s Theatre, Melbourne, bv Dion Boucicault’s London company. The stage setting itself is amazingly vivid and realistic, representing a •typical- scene on a tropic island, at first bathed in strong sunlight, then dimly seen in the fading light of the evening. Tall feathery grass and brushwood are in the foreground, with trees above and rocky steps leading up to a hill behind. The sea heaves and surges most realistically, and the sound of the. surf on the beach is most realistic. There is even a real fire on the stage, and a billy is boiled, which adds to the effect.

“Give and Take,” Aaron Hoffman’s three-act farce comedy, is to be presented to New Zealand playgoers by J C. Williamson Ltd., in conjunction with E. J. Carroll. Mr. Harry Green, Jewish character comedian, will be seen here for the first time in the iqle he created in America. Associated with him will be Edward de Tisne, undoubtedly the most genuine funmaker on the Australian stage to-day. The play deals with the problem of capital and labour, and the situations that follow swiftlv upon each other arc said to be the funniest that ever made a comedy sensation,

“The Sea Beast,” the Warner Mester picture that marks John Barrymore’s re.turn to the screen, is acscribed as “an epic of the golden age of American seafaring adventure.” ..It deals with the 1810 whalers. y. ( '

The final episode oi the thrilling “Riddle Rider” serial will be shown at the Artcraft matinee this, afternoon. Regarding the free competition in connection with it, all completed lists aye to be sent in before Saturday next, with name and address thereon, and the winners will be announced next Saturday, when the new serial, “The Fighting Rangier,” will begin.

“The Ancient Mariner,” brought to the screen bv Fox Films, is now show-, ing at the Queen’s Theatre. A ppenx of the length of “The Rime of the Ancient Mariner” is often ' considered too long for the young girl or young boy to read with the careful attention which -our grandparents gave to , the works of art. Visualised upon the screen, however, “The Ancient Marin* er,” it is said, will intrigue the same young person. j'

The Limehouse district of London has furnished the haunting and distinctly gruesome background for many a tale of adventure and romance, and in “Recompense,” the latest Master picture, which was produced from the sensational novel by Robert Keable, it adds just that note of subtle sorrow that is the burden of mankind. ■ln “Recompense,” the feature picture- at the Empress Theatre, this week, Marie Prevost and Monte Blue have the leading roles.

Samuel Taylor Coleridge’s immortal poem, “The , Rime of the Ancient Mariner,” has been adapted to the screen by Fox Films, and is screening at the Queen’s Theatre this week under the title of “The Ancient Mariner.” This production is a modern story with the lesson of the mariner, in phantasy, woven into it. The sailors say that the albatross is the spirit of good and to kill it is to bring a change.of wind and bad luck to all on board. In the modern sequence, love and happiness are nearly killed by the avarice of a selfish man, and it takes an old sailor to tell him-the story of- the Ancient Mariner and show him the result of his actions.

Captain Arthur Clayton is to play an important role in Syd. Chaplin’s next Master picture. Doris Hill has the t chief feminine role. This new Master picture will be called “The Better ’Ole,” from the famous storj' and stage play.

Some time ago in “Liberty” magazine “The Street of Forgotten Men,” a story of the underworld of tNew York, of a Bowcry . Cinderella arid a beggar who lost himself in loix,'. was verv popular. It has been made"into a screen play by Paramount. . The cast is headed by Percy Mariiont, with Mary Brian and Neil Hamilton in support. J Walter Morosco will direct- for Warners. His first will be a. pfcture starring Irene Rich. Miss Rich is featured in the Master picture ‘“Lady Windemere’s Fan.”

Strclla Wilson, of the Gilbert and Sullivan Opera Company, now touring Australia and New Zealand, is one of the few actresses who have refused to shingle her hair. She has a fine head of Titian red hair, and nothing will induce her lo part with it. “You never know when you may want your hair in operatic work,” she explained. “A fashion like the shingle always dates one. It is easy to do one’s hair, if it is long, in a dozen different styles, but it is extremely difficult to grow it again once it is cut, and a wig is but a comparatively poor substitute.”

Robert Purdie, who toured New Zealand with Alan Wilkie’s Shakespearean Company, and later broke into the film world under the wing of Annette Kellerman, is now playing in "Peg o’ My Heart,” with Nellie Brantley, tn Svdncv.

Some plays have had exceptionally short runs in London recently. Perhaps “The Inevitable” holds the record; it ran for only four performances in ffl‘23. “Life Goes On,” which ran for onlv five performances at the Duke of York’s Theatre last month, is the next best. Recent plays with short lives arc: "Conchita” nine performances; ‘‘Blinkers (Savov), 10 performances; “J he very Idea”’ (Kiugswav'i, 11 performances ; “Growing Pains” (Ambassadors), 11 davs; “Blessed arc the Rich’ (Yaudct'l'le) 12 davs; “The Royal Visitor His Majesty’s), nine performances.

Theodore Roberts, veteran Paramount player, has hung up a rccott of appearing in more than 170 pictures. His latest one is “The Cat’s Pyjamas, which marks his return to the screen after his long illness. The picture costars Bettv Bronson and Ricardo Cortez Roberts plays the role ot Miss Bronson’s father. The veteran player isn't sure of the exact number of pictures in which he has played, but has counted more than 170 that he can remember. “In the old days we used lo make pictures so fast and so ficqucntlv, that I can’t reineinbet 11 e names' of unite a few of Hose in w eh I appeared,” says Roberts. I think mv onlv rivals are Robert hdeson and Hobart'Bosworth, who were also, going strong in those days, when it wasn’t anything to make a featuic length picture in a couple of weeks.

At the end of two hours of what appears lo be lame melodrama at the Duke of York Theatre, London ! - recently, it was suddenly revealed that “Life' Goes On” was an elaborate practical joke. It was not a good, joke, and the audience did not take it kindly. Throughout 11 scenes it had appeared that the author, Stephen Lind, hoped to be taken more or. less seriously. There was a very wicked financier whose life work appeared to be to rum innocent girls, a murder, a scene m.a cell at the Old Bailey—everything, in fact except melodrama’s true, honest punch, which stands for melodrama. And then, at the last moment, it was revealed that all these absurdities were really connected with the filming of a kincnia plav. The curtain went down cal the supposed t illain announcing that he was about to be married to his supposed victim. The whole play, in short, had been sheer audacious “spoof —and the spoof was not m the least bit amusing. In addition to the andience, the chief victims of a stupid joke were Sam Livesey, Ben Webster, and Barrie Livesey, who played the principal characters.

Herbert Farjeon, a well-known dramatic critic, writing in “The Sphere,” gives his opinion as to those who form the best dozen of the London actresses to-day. He says: “Instinctively these eight names occur to the mind: Edith Evans, Sybil Thorndike, Athene Seyler, Marie Tempest, Irene Vanbrugh, Mrs. Patrick Campbell, Bay Compton, and Gwen Ffrangeon Davies. Given an intelligent selection board, they might be regarded as certain of inclusion in any test team. And surely, once you have remembered them it is impossible to leave our Sara Allgood, Marie O’Neill, and Ada King. That makes 11. One place still to be filled. Miriam Lewis? Ilaidec Wright? Excellent actresses both. But while the merits of these two were being weighed in the balance, the name of another candidate might thrust itself forward to upset both their chances. I do not see how a place among the Big Twelve could well be denied to Madge Titheradge. So highly finished is her technique, and with such spirit does she throw herself into whatever she does, that she deserves a far more generous recognition ifian she has yet received.” It is interesting to note that, not only is this brilliant Australian included among the best dozen, but that Australian and New' Zealand audiences have had the privilege of welcoming two of the others in recent years.

A cable has appeared in an Australian paper to the effect that the educational expert of the moving picture industry, though he criticises their bravery, amateurishness, and lack of interest, has approved of a majority of the 17 Australian films submitted to him. Those selected will shortly be screened before upwards of one million New York children.

London’s youngest leading woman is Joan Maude, Nancy Price’s daughter and Cyril Maude’s niece. When she surprised theatregoers by the power of her acting in “Taffy” at the Q Thea-" tre last autumn she had still to celebrate her 18th birthday She is now appearing in “The Widow’s Cruise” at the Ambassadors. At nine years of age she ran awav from school Because site wanted to be' an actress—quick 1

Nellie Stewart, the idol of theatregoers over ‘2O years ago, rcceizcd a wonderful reception jvhen site appeared in “Sweet Nell of Old Drury” in Sydney last week. She was supported b'v a large cast, including Sy.mey Stirling as King Charles, Char’cs Lawrence as Lord Jeffreys, Dion Wheeler as Lord Rochester, Frederick Hughes

as Lord Lovelace, Arthur Shirley as Sir Roger Fairfax, Roslyn Vane as Lady Olivia Vernon, Marie Eaton as Ladv Castlemaine, Sylvia Clifton as the Duchess of Portsmouth.

Australia is likely to have the honour of making the first Pavlova film for exhibition to the public. The famous dancer has made several pictures in other countries, but none has been satisfactory. She is pleased w.ith sections of the picture taken by Australasian Films, Ltd., in the grounds ot Sir George Tallis’s residence in Toorak, Melbourne. An official letter to the Victorian manager of the company (Mr. W. J. Humphreys) says that there are some portions which Madame considers very good, although other sections arc not satisfactory. It is suggested that the film made in Melbourne be forwarded to Sydney, as Pavlova, when in that city, may make arrangements to include portions of more elaborate dances, which would add to the interest and attractiveness of the film for the public. Pavlova’s wish is that pictures will preserve for all time the technique of dancing. Her first film, made in Germany, was a distinct failure. She was' taken twice in the studio of Douglas Fairbanks, but neither effort was satisfactory.

Booth Tarkington,, questioned in New York concerning his plans, said he doubted if he would ever write another play. “I have probably written my last one,” he said. “Managers are very amiable and lovely, but when a play fails thev blame it on the actors, the critics, the public, but never imagine it might be the fault of the playwright. I vant to quit before they find that out.”